The following is an autoethnographic account of extending an existing tribal tattoo, from consultation process to finished outcome. The account outlines the material and design methods adopted, in addition to the psychological and social aspects of the process. The reflections offer analysis of the wider experience of tattooing, and offers insight into how the discipline shapes the practitioner on both a professional and personal level. The purpose of the account is to elucidate on the multifaceted role of the tattooist, in order to better understand the nature of the practice.

Ryan(Name changed for confidentiality purposes

​As with many disciplines, a practitioner of tattooing must create work that they both do and don’t resonate with on a personal level. In some cases, the client is interested in getting the work of the particular practitioner as a visual artist. In many cases, however, the client’s selection of practitioner will be based on their assumed basic ability, their hourly rate, and how mutually convenient the available dates/times to perform tattooing are. Ryan was an example of the latter.

Work that isn’t personally satisfying to the tattooists’ taste is not necessarily dissatisfying to undertake however, as such pieces may still present aspects of challenge and opportunities to practice improved craftspersonship. In addition, the collaborative nature of the practice means that the client satisfaction is of central importance, which creates an altruistic sense of satisfaction for the tattooist when this is achieved. In the early stages of a tattooist’s career, it is normative to tattoo pieces of such a nature more frequently than it is to tattoo pieces that satisfy personal creative desire. This was the case for the tattoo I completed for Ryan.

Ryan was introduced to me by a member of desk staff as I was tattooing another client, as he was seeking a tattooist who was able to extend a large tribal piece that had been tattooed previously on the outer side of his upper arm, to his forearm. He wanted to continue the piece in a similar style, to make the piece appear as a cohesive whole. Ryan had moved geographical location from a small post-industrial town outside of London for personal reasons, and was thus unable to have his tattoo completed by the tattooist who had started it. Ryan a gentleman aged around his mid-fifties, and stated that he considers Sunderland to be more his home than his place of birth.

The consultation process involved looking at Ryans’ existing tattoo and taking photographs using my mobile phone, from which I would later reference when creating a preliminary sketch in a shape that matches what he already has. It was explained to Ryan that I am a junior practitioner and my rates are £30 per hour less than my peers, and thus not as competent as some of the others in the studio due to my comparative lack of experience. Ryan was happy with my skill level being suitable to complete the piece, and advised to book for a full day if possible, or less time if his availability or budget would not allow for this. He then made a 3 hour appointment for a Saturday in April, and was advised that the tattoo would be started but not completed within the 3 hour period.

Prior to Ryans’ appointment, I had composed on an a4 sheet of paper the photographs of Ryans’ arm that had been taken from different angles during the consultation process. On a separate piece of paper and larger in size, a photograph of the area that would be tattooed was printed and used as the surface on which the preliminary designs would be created. In keeping with the existing shapes of the tribal design, rough shapes where drawn over the areas of non-tattooed skin on the photograph, using a yellow sharpie marker. Theses shapes where made to appear visually consistent and harmoniously with the anatomical structure of the forearm. The shapes where then refined further using an orange marker, and finalised using a blue marker, creating a more formal and considered reference. This drawing process is comparable to the method of ‘free-handing’ that many practitioners use in favour of using a stencil, where deemed more appropriate. It was unnecessary to research any significance culturally attributed to tribal shapes, as Ryans’ existing tattoo had already established a set aesthetic, and my role in this instance was merely as a designer utilising a visual medium, not a creator or facilitator of the communication of symbolic meaning.

On the day of Ryans’ appointment, the usual procedure of set-up was performed, and Ryans’ arm was shaved and cleaned using an alcohol wipe to remove any excess debris. The preliminary drawing was then placed in the left hand, which was used to inform the freehand procedure following the same format of using lighter coloured sharpie markers to darker coloured markers, echoing the process of drawing on paper. As the photographs are 2-dimensional they are unable to represent the form in the same way as it is in material reality, and thus some customising from the original design was undertaken in order to better fit the flow of the arm. This was particularly around the elbow area as their it was important to make the upper and the lower arm harmonious in design, rather than clearly disparate pieces.

After applying the final marks on the arm using a blue sharpie marker, the tattooing process began. The process involved using a relatively thin 0.5 liner (5 small needles soldered together) to go over the shapes drawn on the body and create a permanent stencil, which would later be saturated in black. This meant that the line thickness was not important at this stage, as rather than be reflective of the finished outcome, it was acting as an aid of completion to the process. For this same reason, the ‘cleanness’ of the line is not as important as it would be if ‘lining’ alone was the purpose and the piece was not to be internally coloured black.

On creating the first line, I had realised that due to the layered pigments of marker ink on top of each other, the stencil had become very dark. As a result, the thin black tattooed line became very difficult to distinguish amongst the thick, dark, instructional blue line that was being followed. This meant that keeping the line consistent was increasingly difficult, and as a result the blood that came to the surface of the tattooed line was used as an indicator of what had been tattooed, rather than the actual pigment on skin.

On recognition of the marker being too dark to act sufficiently as a guide, I began to sweat and feel severe tension and anxiety. As the process was too far undertaken to make opting for an alternative possible, the approach of following the blood line was adopted until the entire piece was able to be wiped clean with a baby wipe. The line appeared not clean, but sufficient to serve the purpose it was intended to serve in this instance, and a sense of relief was gained. Once both of the large tribal shapes where lined in, the colour packing using a larger needle grouping (magnum needle) began, and I spoke with Ryan about his background, work, and interests.

The sitting was booked for 3 hours, and a large part of practitioner conduct involves ensuring client comfort. In part this means giving them an opportunity to speak about themselves, and express their beliefs and opinions in the knowledge they are being listened to. As we were discussing Ryans’ home town and his feelings towards it, he expressed unfavourable sentiments as it had what he termed an “big Asian problem’. He then went on the express views and opinions of Asian communities that, in conservative terms, could be understood as deductive and prejudice. As the tone of communication and nature of Ryans’ opinions are in vast contrast to my own in a way that could be deemed offensive, I found that I was subconsciously applying more pressure with my needle while packing the ink into the skin. I didn’t vocalise my contrast to his perspective, as I didn’t deem it pragmatic to fulfilling my role efficiently, but rather attempted to subtly but noticeably direct the conversation to an alternative topic.

One of the issues I have had as a tattooist is in my discomfort in the unavoidable necessity of inducing pain, that is a consequence of tattooing. This manifests itself materially in my insufficient application of pressure of needles and depth of insertion into the skin, and results in the tattooed area not being sufficiently saturated and thus requiring a second pass. In turn, this demands more time being spent on the area, which can be more painful for the client overall, and less economical in regards to both time and money (as they are required to pay for extra time, or are sometimes quoted a set cost based on projected time, which is honoured irrespective of actual time spent tattooing). When Ryan had expressed beliefs and attitudes that I had found ethically distasteful, my conduct subconsciously was altered in such a way that was more suited to performing my role successfully.

I continued tattooing with the increased pressure, recognising that I indeed was not causing any unnecessary trauma to the skin, but instead tattooing with superior efficiency, meaning the client received a higher-quality tattoo in less time than they would have had I applied less pressure.

One of the unique and positive attributes of tattooing is the opportunity to have long-form conversations with those who I may not have an opportunity or desire to otherwise. As I continued to tattoo and talk with Ryan, I found that although we had some severely contrasting opinions, on a human level I was able to be in his company without any severe discomfort. I considered how culturally and generationally we differed, and how this might affect how we deem validity of information sources such as newspapers and news articles. Ryans’ culturally induced reality tunnel was different to my own, but I recognised through the lengthy interaction that the medium of tattooing allows for that despite contrasting identity constructs, we were able to coexist harmoniously, and enjoy (or at least respectfully tolerate) aspects of each other’s company. His experiences of life had shaped how he exists in the World, in the same way that my experiences have shaped my reality and my conduct.

Tattooing Ryan taught me not only how to improve aspects of my own craftspersonship and ability as a designer materially, but also how to both interact with and holistically appreciate / understand, somebody who I may otherwise had tried to avoid communication with. His experiences of life had shaped how he exists in the World, in the same way that my experiences have shaped my reality and my conduct. That is not to say that holding oppressive beliefs is justified and ethically sound. It is rather an acknowledgement, through compassion that has been cultivated in the time taken for communication that tattooing necessitates, that multiple external factors shape an identity.

My role as a tattooist is not to adopt a position of moral arbiter and attempt to change Ryans’ views, however toxic they may appear. Attempting to do so may actually be detrimental to the likelihood of his return, and thus bad for business. My reflection and analysis of my personal experience is an attempt to generate understanding on both a tangible and intangible level of one aspect of the broader cultural experience of tattooing that exists in multiplicity. How each practitioner approaches and interprets each interaction is contingent upon how they engage with the world on an individual basis. Though this account may be unique to me, many other practitioners have comparable accounts of experiences that have similarly informed their conduct. My account thus contributes elucidation on a small fraction of the shape of the tattooists multifaceted occupational role.

Adam McDade

Tattooist at Triplesix StudiosAHRC NPIF Funded PhD Research Student at The University of Sunderland

The format of the blog thus far has been mostly explanatory of the functional processes employed during my tattoo apprenticeship experience. The entries have been written in a heavily descriptive format of the steps taken in the conduct employed. This format of writing is potentially of value to the PhD research that is being undertaken, however requires a level of attention to detail that may not allow for the level of up-keep and post frequency that is desired. The explanation of the early stages of the apprenticeship are useful and informative, however are beyond the scope of inclusion to the PhD research due to the 40000-word limitation on practice-led study.

Since the previous post in April 2018, many advancements in the apprenticeship process have been made. The most recent blog post was an account of activity of tattooing fruit skin that was actually conducted in September/October 2017, however since that time multiple tattoos on actual skin have been carried out (72, at the time of writing in October 2018). In order to keep the blog functioning as an up-to-date account of the apprenticeship to professional tattooist transition, and of the evolution of the research as it unfolds, an alternative approach to writing must be approached.

By keeping the posts created in the same time period in which what is being described and considered, a more organic and thus accurate sense of the research journey is made visible. The posts that are to follow are intended to function as a format of dissemination of developing themes of inquiry from my PhD research, that are reflections of my ongoing studio practice.

The purpose of the research is to utilise my embeddedness as an apprentice tattooist with a design background to elucidate on and explore the process of cultural production of contemporary Western tattooing. The methodology of my research is shown in the below diagram – included in this post to give an indication of what the future narrative of the blog may look like.

The following text is taken from the methodology section of my most recent annual monitoring report, serving as documentation of the way in which the research is currently being conducted and shaped. During the academic year of 2018/19, the primary focus of the research is to focus on tattooing practice, in order to both improve professional skill, and to understand the process of cultural production greater, thus allowing for the implementation of design skills in professional conduct.

A contextual overview of contemporary Western tattooing is necessary in order to position the research within the field. This includes reviewing the existing literature to discover areas lacking in clarity of understanding that may be pursued. The literature review is continuing to be conducted throughout the research process. Context has also been provided through taxonomizing stylistic approaches to tattooing, categorizing the name of each style in relation to its antecedent style. This is in order to document cultural history and to provide context from a visual and design perspective to contemporary Western tattooing, that the literature review highlights to be absent.

Understanding on the process of cultural production of tattooing is lacking (Lane, 2014). This includes what tools are utilised to create marks of varying visual properties of tattoos, such as ‘liners’ or ‘magnums’, in addition to the process of client consultation, through to design formation, stencil, and actual tattoo. A disciplinary audit of the functioning of tattooing is necessary in order to provide a basis for practical investigation. Methods commonly employed by tattooists for self-promotion (such as the sharing of work on social networking websites, tattoo convention attendance, and guest-artist appearances) would also be recorded in order to document cultural history.

The contextual overview will also be informed by an autoethnographic approach due to my embeddedness within Triplesix Studios as a designer who is working as a tattooist. As stated by Méndez (2013, p.280), “autoethnography allows researchers to draw on their own experiences to understand a particular phenomenon or culture”. Observations or ‘fieldwork’ of the process of cultural production will be documented in order to discover where introducing methods known from design practice may be appropriate in tattooing practice and provide insights that have been demonstrated to be lacking in literature.

Phase 1 of the research provides understanding of context – phase 2 aims to expand on the findings to investigate tattooing as creative medium, using reflective practice and autoethnography. Reflective practice can be understood in accordance to the ideas of Schön; that the practitioner “...may reflect on the tacit norms and appreciations that underlie a judgment, or on the strategies and theories implicit in a pattern of behavior” (1984, p.3).

Tattoos created would be evaluated through the documentation of its concept through to finished article in the form of writings, photographs, and presentation of methods used to create the design (visual journaling). A dated document of each tattoo created is also being maintained for reflective purposes. This process of visual journaling addresses the gap in knowledge, while also providing a basis for tattooing as both practice, and praxis (utilising knowledge gained from phase 1).

After gaining authentic understanding of industry processes and confidence in tattooing, alternative models of practice would then be investigated in keeping with methods known as a designer. This would correspond with the processes identified for creativity by Mace and Ward (2002, p.184) who state that in order to enrich, expand, and develop a project an artist “engages in a process of idea development and extension through exploring the intricacies of that concept, building up a richness of form and content” (2002, p. 184). Implementing methods from design practice in tattooing is a means of investigating how contemporary Western tattooing may be enriched.

In order to disseminate findings, multiple conference attendances will be made as the research unfolds, presenting emergent themes appropriate to the topic of the conference. An audio discussion of findings may also be published using the medium of podcasting – an emergent platform that (much like tattooing) engages a vast audience demographic, both socially and geographically. An online blog that has been started prior to the research will be carried out parallel to the research, and publications in both academic and tattoo-specialist outlets (such as ‘Total Tattoo’ or ‘Skin Deep’ magazine) will be sought. In addition to a thesis, a non-academic book that documents the research process will be created, with a non-specialist publisher being pursued.​This is in acknowledgement of the popularity of the research topic in contemporary Western culture, but also an effort to create a format that places tattooing within the more appropriate category of art and design publications, as opposed to specialist interest. Utilising such methods and disseminating the findings in such a way contributes to the presentation of notion as tattoo’s as a medium, providing a strong basis for the enrichment to both understanding and practice that the research aims to deliver.While PhD theses exist that utilise practice within the methodology in creative disciplines such as glass (Song, 2014), illustration (Hoogslag, 2015), or calligraphy (Ling, 2008), contemporary Western tattooing is yet to be examined by such means. The research will implement practice as a method in a way that is comparable to existing practice-based methodologies such as those listed.

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Hoogslag, J. (2015) On the persistence of a modest medium : the role of editorial illustration in print and online media. Ph.D. Royal College of Art. Available at: http:// researchonline.rca.ac.uk/1696/ (Accessed: 3 January 2018). Lane, D. C. (2014) ‘Tat’s All Folks: An Analysis of Tattoo Literature: Tat’s All Folks’, Sociology Compass, 8(4), pp. 398–410. doi: 10.1111/soc4.12142.

Song, M. J. (2014) Mechanisms of in-betweenness : through visual experiences of glass. Ph.D. Royal College of Art. Available at: http://researchonline.rca.ac.uk/1657/ (Accessed: 3 January 2018).

Tani, A. (2013) Multi-dimensional line-drawing with glass through a development of lampworking. Ph.D. University of Sunderland. Available at: http://sure.sunder- land.ac.uk/5030/ (Accessed: 3 January 2018).

Beyond the Epidermis

​Adam McDade

A document of my experience working as an apprentice Tattoo Artist at Triplesix Studios, while also serving as a platform for my AHRC NPIF funded research as a PhD student at the University of Sunderland.